Podcasts about taft museum

In this episode of “The Art Of…”, we step into the vivid, multi-sensory world of Daunielle Rasmussen — creator, producer, and founder of MerryBand Entertainment. Daunielle leads us behind the scenes of immersive theater, sharing how she blends storytelling, logistics, and creative strategy to bring productions like The Mad Hatter's Tea Party to life. From load-ins and venue mapping to working with historical institutions like the Taft Museum of Art, Daunielle explores how to scale intimate, interactive experiences across cities while staying grounded in community collaboration. She opens up about the emotional demands of immersive theater, the beauty of method acting, and the importance of self-care in the creative process. Through bold experimentation, color-coded planning, and a passion for making art accessible, Daunielle redefines what theater can be — playful, powerful, and deeply human.

Terri Kern received her MFA in 1991. Terri left teaching to open her own studio. Terri has exhibited internationally, been featured in ceramics publications, received awards, artist grants, nominations, started a teaching website, had work on the Great Pottery Throw Down, and is now showing at the Taft Museum of Art. https://ThePottersCast.com/1096

Chef Tunde Wey uses Nigerian food to interrogate colonialism, capitalism and racism.

We are happy to welcome award winning author, Sharon Draper to The Hamilton Review Podcast!  Sharon Draper is the New York Times Bestselling author of " Out of my Mind",  a book that has been on the list for almost two years. The book has also been developed into a movie and will be distributed by Disney, coming to theaters soon! In this conversation, Mrs. Draper shares with the audience about her love of reading as a young girl and how that shaped her writing career. She also talks about her best selling book, "Out of my Mind", her long career as an educator, and so much more. This is a must listen conversation friends! Enjoy this episode! Sharon M. Draper is a professional educator as well as an accomplished writer. She has been honored as the National Teacher of the Year, is a five-time winner of the Coretta Scott King Literary Awards, and is a New York Times bestselling author, with Out of my Mind staying on the list for almost two years. She was selected as Ohio's Outstanding High School Language Arts Educator, Ohio Teacher of the Year, and was chosen as a NCNW Excellence in Teaching Award winner. She is a Milken Family Foundation National Educator Award winner, and was the Duncanson Artist-in-Residence for the Taft Museum. She is a YWCA Career Woman of Achievement, and is the recipient of the Dean's Award from Howard University School of Education, the Pepperdine University Distinguished Alumnus Award, the Marva Collins Education Excellence Award, and the Governor's Educational Leadership Award. Last year she was named Ohio Pioneer in Education by the Ohio State Department of Education, and in 2008 she received the Beacon of Light Humanitarian award. In 2009 she received the Doctor of Laws Degree from Pepperdine University. In 2011, she received the Lifetime Achievement Award for contributions to the field of adolescent literature by The Assembly on Literature for Adolescents of the National Council of Teachers of English, as well as the 33rd Annual Jeremiah Luddington Award by the Educational Book and Media Association, also for lifetime achievement. In 2015 she was honored by the American Library Association as the recipient of the Margaret A. Edwards Award for lifetime literary achievement. In 2015 she was honored with the Anne V. Zarrow Award by the Tulsa Library Trust., as well as the 2016 Upstander Award by Antioch College. She has been honored at the White House six times, and was chosen as one of only four authors in the country to speak at the National Book Festival Gala in Washington, D.C, and to represent the United States in Moscow at their Book Festival. Her book Copper Sun was named one of the 100 Best Books of All Time by TIME Magazine and was selected by the US State Department and the International Reading Association as the United States novel for the international reading project called Reading Across Continents. Students in the US, Nigeria, and Ghana are reading the book and sharing ideas-a true intercontinental, cross-cultural experience. Actively involved in encouraging and motivating all teachers and their students as well, she has worked all over the United States, as well as in Russia, Ghana, Togo, Kenya, Ethiopia, Bermuda, and Guam, spreading the word about the power of accomplished teaching and excellence in education. Her literary recognition began when, as a challenge from one of her students, she entered and won first prize in a literary contest, for which she was awarded $5000 and the publication of her short story, "One Small Torch." She has published numerous poems, articles, and short stories in a variety of literary journals. She is the published author of numerous articles, stories, and poems. Sharon Draper is an active participant in the activities of the YWCA of Cincinnati, a member of the National Council of Teachers of English, the International Reading Association, and Top Ladies of Distinction. Ms. Draper travels extensively and has been a guest on television and radio programs throughout the country, discussing issues of literature, reading, and education. She is an accomplished public speaker who addresses educational and literary groups of all ages, both nationally and internationally, with entertaining readings of her poetry and novels, as well as enlightening instructional presentations. She lives in Cincinnati, Ohio, with her husband and a golden retriever named Honey. I learned to dream through reading, learned to create dreams through writing, and learned to develop dreamers through teaching. I shall always be a dreamer. Come dream with me. How to contact Sharon Draper: Sharon Draper's official website Sharon Draper on Instagram How to contact Dr. Bob: Dr. Bob on YouTube: https://www.youtube.com/channel/UChztMVtPCLJkiXvv7H5tpDQ Dr. Bob on Instagram: https://www.instagram.com/drroberthamilton/ Dr. Bob on Facebook: https://www.facebook.com/bob.hamilton

The Postman is here! We got the esteemed collector Kerry Davis joining the Studio Noize fam. Kerry built his legendary collection while working 30 years as a postman at USPS. How impressive is his collection? Well, it's in the middle of a 5-year national museum tour, and he could have a whole other show from work currently up in his home. The collection includes the biggest names in Black art, from Charles White to Radcliff Bailey, Mo Brooker to Louis Delsarte. The collection alone is enough to discuss, but we go deeper than that. Kerry tells us about the relationships with those names on the wall. Mildred Thomas was his real friend; those personal stories are so great to hear. We talk about how he started touring his collection, got so much incredible work, and all the artists he met and got to know on his journey. Another great episode with that good art talk for you. Listen, subscribe, and share!Episode 176 topics include:-buying art vs collecting art-getting to know artists-Mildred Thomas stories -helping Louis Delsarte in his studio-meeting artists as a postman-organizing a collection-developing an “eye”-touring the Davis collection-how to handle a big collection-appreciating printmaking “It's been called “a museum in a home.” The private collection of art amassed by Kerry and C. Betty Davis over nearly 40 years is one of the richest collections of African American art in the world. The Davises – a retired postal worker and a former television news producer – have invited friends, neighbors, church members and their children's friends into their home to see their art.Now they are sharing their extraordinary collection with a wider audience. “Memories & Inspiration: The Kerry and C. Betty Davis Collection of African American Art” opens Feb. 4 through May 14 at the Taft Museum of Art.The exhibition features 67 of the more than 300 works that grace their suburban Atlanta home. It includes Romare Bearden's colorful portrayal of a jazz quartet, photographer Gordon Parks documentation of racial disparity and abstract pieces by Sam Gilliam, Norman Lewis and Alma Thomas. The show spans from early Black pioneers, such as Elizabeth Catlett and Jacob Lawrence, to contemporary artists.” -Janelle GelfandSee more: Cinncinnati Business Courier:Retired postal worker, wife share their world-class collection of African American art Presented by: Black Art In AmericaFollow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast www.patreon.com/studionoizepodcast

In a span of just six months, two of Greater Cincinnati's leading arts institutions welcomed new leaders. We sit down with the women leading the Taft Museum of Art and the Contemporary Arts Center.

Episode No. 587 features curators Jed Morse and Perrin Lathrop. Morse is the curator of "Mark di Suvero: Steel Like Paper" at the Nasher Sculpture Center in Dallas. The exhibition surveys di Suvero's career with a special focus on di Suvero's in-studio practice, such as his drawings and his little-considered modestly scaled sculptures (which make up the vast majority of his oeuvre). It is the most extensive survey of di Suvero's work in over 30 years, and the largest museum exhibition of such since 1975. "di Suvero" is on view through August 27. The excellent catalogue was published by the museum. Along with Nikoo Paydar and Jamaal Sheats, Lathrop is a co-curator of "African Modernism in America, 1947-67" at the Fisk University Galleries in Nashville. The exhibition investigates the connections between African artists and American patrons, artists, and cultural organizations such as the Harmon Foundation, the Museum of Modern Art, and HBCUs during the early Cold War. It also features The Politics of Selection, a commission from Lagos-based sculptor Ndidi Dike that interrogates the collecting histories presented in the exhibition. "African Modernism" is on view through February 12, after which it will travel to the Kemper Art Museum at Washington University, Saint Louis; the Phillips Collection in Washington; and the Taft Museum of Art in Cincinnati. The outstanding catalogue was published by the American Federation of Arts. Amazon and Indiebound offer it for about $45.

On this episode, I sit down and talk to Ajanae Dawkins. We talk about how critical are to liberation and so much more! Follow Ajanae @moonsatdesk Website: ajanae.com Follow SWNF @shewillnotfallcollectve patreon.com/iammariellet $iammariellet Learn more about Ajanae: Ajanae Dawkins is a poet, performer, and educator. She has performed at venues across the country and has opened for the United Nations Secretary of Sexual Violence in Conflict. She has been published in The Rumpus, The EcoTheo Review, The BreakBeat Poets Black Girl Magic Anthology, The Offing, and more. Ajanae is the winner of Tinderbox Poetry Journal's Editors Prize and was a finalist for the Cave Canem Toi Derricotte and Cornelius Eady Chapbook Prize. She has also been nominated for Best of the Net. She is the 2022 Duncanson Artist-in-Residence at the Taft Museum. She is a fellow of The Watering Hole's writer's retreat for African American writers and Pink Door. Ajanae is currently the Theology Editor for The EcoTheo Review, a Blackburn Fellow as an MFA candidate at Randolph College, and an MDiv candidate at Methodist Theological School of Ohio. --- Support this podcast: https://podcasters.spotify.com/pod/show/shewillnotfall/support

What you'll learn in this episode: Why jewelry artists from the 60s and 70s, such as Andrew Grima and Arthur King, are gaining more appreciation today The difference between artist jewelers and jewelry by artists What a jewelry lover should do to refine their taste and start their collection What defines a passionate collector What to expect from the Kimberly's upcoming exhibition “Simply Brilliant: Artist-Jewelers of the 1960s and 1970s” About Kimberly Klosterman A graduate of Stephens College with a BFA in design, Kimberly Klosterman was always interested in art, antiques and design. After graduation she studied Decorative Arts at Sotheby's London, where she was exposed to the world of antique jewelry. Upon return to Cincinnati, she and her Husband, Michael Lowe, opened their first gallery selling art and antiques. At this time, she also began her search for fine jewelry. To make ends meet for the new business, Klosterman went to work in the family company, Klosterman Baking Company, in 1982 where she currently moonlights as C.E.O. Her jewelry business, established after another Sotheby's course, Understanding Jewelry, was opened in 1996. Her love of 1960s and 70s jewelry developed through the tutelage of Amanda Triossi, whose own collection thrilled Klosterman. After living in Amsterdam and London, she returned to Cincinnati where she continues to collect fine jewelry.  Klosterman has given gallery talks at the Cincinnati Art Museum, the Taft Museum, the American Society of Jewelry Historians, and the American Society of Jewelry Appraisers, NYC Jewelry Week, Christies Auction, Bonhams Auction, etc.   The current exhibition “Simply Brilliant: Artist-Jewelers of the 1960s and 1970s,” organized by Cynthia Amnéus, Chief Curator and Curator of Fashion at the Cincinnati Art Museum, is a result of Klosterman's passion for collecting. Her goal, to help preserve the legacy of these bold men and women who were jewelers to the jet-set. The exhibition, which opened at DIVA in Antwerp, Belgum and traveled to the Schmuckmuseum in Pforzhiem, Germany, will be on view in Cincinnati Oct 22- Feb 6. A catalog complete with biographies and makers' marks accompanies the exhibition. Additional Resources: Website Facebook Instagram Pintrest Photos: This is the cover of the book, which is also the catalog and a listing of where the exhibit has been. Roger Lucas for Cartier astronaut ring Romolo Grassi Gold and emerald pendant. Gilbert Albert ammonite and pearl Bracelet Brooch Cedars Devecchi carved coral and gold brooch. Arthur king Brooch Collection of Andy Warhol and Kim Klosterman Andrew Grima amethyst ring. Andrew Grima agate and tourmaline necklace. Transcript: What makes a passionate collector? For Kimberly Klosterman, it's someone who can't get enough of the objects they love, no matter what they are. She herself became a passionate collector of 1960s and 70s jewelry long before it became popular. Her collection is now being featured in a traveling exhibition, “Simply Brilliant: Artist-Jewelers of the 1960s and 1970s.” She joined the Jewelry Journey Podcast to talk about the qualities that draw her to 60s and 70s jewelry; why the unique jewelry of this period has come back in style; and what aspiring collectors should do to create a thoughtful collection. Read the episode transcript here.  Sharon: Could you collect a production piece in your collection? Kimberly: I do have some production pieces in my collection, for example pieces by Elsa Peretti; I happen to like Elsa Peretti very much. I think she's a great designer, but again, she settled on jewelry as being her first and foremost love. Even though they're production pieces, in my opinion, she's an artist jeweler because she's designing that way. Other production pieces that I have—during the late 60s and early 70s, Cartier made some production pieces that were pretty wonderful. There was another person, Aldo Cipullo, who designed the love bracelet and a number of other things that Cartier started selling. I think of him as an artist jeweler as well. Sharon: Is a piece that you want for your collection high-end or limited like Peretti? She's not what I consider a production jeweler. I'm sure some of her work she signed and numbered, but I wouldn't consider it production. You used TJ Maxx before; if you walked into TJ Maxx and saw a piece and you thought, “Oh my god, this is incredible,” would you maybe not wear it but consider buying it?  Kimberly: I love all kind of things, but for my collection, no. They're signed pieces. That's something, too, that I always looked for in forming my collection. I would see things that I thought were interesting and I would buy them. It didn't always have to be signed, but nine out of 10 times, if the piece was signed, even if I didn't know the name of the maker at all, I would buy it if I liked the piece because then I could do the research later. A lot of the material I have in my collection came to me that way, by buying unknown people and later finding out who they were and why they were important to this group of people in this time period. Sharon: If somebody wants to start a collection, if you've ignited somebody's interest in this, where would you say they start? I don't necessarily believe that things always have to be signed. I have some very nice things that aren't signed, but where would you suggest they start? Are there certain designers? Kimberly: First of all, just getting out and seeing what's available is very helpful. Go to the big shows. If you can, go to Miami, or there's a show coming up in New York. Go to interesting places, because you can see a lot of jewelry and start thinking about what you might like. Look at books, look at auction catalogues; auctions are also a great place to look. Then settle on something that sings to you and go down that path. I think people have accumulations of things, which is really a shame. I find that people want what their friends have. They buy this and this, things that are hot, like Van Cleef and Arpels Zodiac pendants, which are fine; they're wonderful and they're really cool, but you start ticking off things. I want an Alhambra necklace; I want a Van Cleef Zodiac signed. To me, that's wonderful jewelry. It's great to wear all the time, and it is a collection. Believe me, the stuff will become and is more valuable than many of the one-of-a-kind pieces I like. You know what? Scratch all that stuff. That's not good to say. Sharon: It is a collection if you're talking about the Zodiac piece and Alhambra.  Kimberly: It's a collection and it's fine to have. I guess sometimes I get bummed out because I feel so passionate about these wonderful, one-of-a-kind pieces, and I find that a lot of times, people can't wrap their minds around it because it's something they don't understand or haven't seen much of. Sharon: Also, you might not be doing as much dealing now, but you look at things in terms of whether it's going to appreciate. I buy things knowing sometimes they will appreciate. I have a friend who buys only with the idea of selling it. I don't do that.  Kimberly: No, I definitely don't either. I just buy my passion and what appeals to me. Sharon: I don't know if I would have had the fortitude; you must have had to buckle up. Why you started out in this genre of jewelry, you must have had to buck a lot of people saying, “Oh my god, what do you see in that?” Kimberly: Well, dealers didn't say that because they were just happy to get rid of it. I had a number of people showing me things that weren't right at all, and I'd still get that. This is my view, and it's like, “No, that doesn't look like it at all.” I just love this path, and I think you do too, of having jewelry that celebrates your individualism. Sharon: Similar to you, I love it when I find a piece that's one of a kind, even though nobody ever heard of the person. They're never going to become a Cartier, but I like the fact that it's really different. I'm curious about the exhibit, which I'm looking forward to seeing at some point in Cincinnati. Tell us about how it came about. Was that your brainchild? Kimberly: Yeah, it was interesting. In 2012, I had given a lecture for the American Society of Jewelry Historians in Manhattan, and in the audience was the curator of jewelry for the Cooper Hewitt, Sarah Coffin. Sarah came up to me after the lecture and said, “All this stuff is amazing. I think we should do an exhibition,” and I said, “Oh, that's a cool idea. I like that idea.” For one reason or another, we could never get it together.  In 2015, I started thinking, “I'm going to propose this to someone else,” and I started thinking about what museum might make sense and who might like the idea. I went to the Cincinnati Art Museum and heard Cynthia Amnéus speak, and I was very impressed by the talk she gave. I remember that it was on modernism, a subject I know pretty well, and she had to get the lecture together overnight. I thought, “Wow, if she can do that overnight, she knows her stuff.” So, I went to Cynthia and said, “I have this collection of jewelry, and I'd like to talk to you about it.” She took my PowerPoint presentation and she really liked it. I thought this would make perfect sense because she's Curator of Fashion for the Cincinnati Art Museum, and it's literally in my own backyard. I know the material really well and I knew that a lot of people didn't understand it, so I knew I was going to have to be hands on with the exhibition. This gave me the opportunity to do that, and it was really exciting.  After the show was accepted, we decided to travel it. It was an honor that DIVA picked up the show. They did a great exhibition. Sadly, I didn't get to see it because of Covid. Following that, it went to the Schmuckmuseum of Pforzheim, Germany. Cornelie Holzach knew all about this kind of material, which I was very excited about. I had met with her and asked if they would be interested. She knew almost everyone in the exhibition, and she had great stories about them. I showed her a watch I had and she said, “I think that's this artist,” and she went back and showed me where the source came from and some of their early catalogues. It was a real honor to be in both of those museums. I'm looking forward to the show in Cincinnati. Sharon: How long is it on for? Until next year, at least? Kimberly: Yes, it runs October 21 through February 6. Sharon: I certainly hope I get there. Cincinnati from Los Angeles is at least a little bit closer than New York. The other thing I'm curious about is what attracted you to this kind of jewelry first and what holds your attention. Kimberly: For me, it's the naturalistic quality of the jewelry. There's a lot of texture and warmth in most of the jewelry I collect, and I love the idea of using odd materials. The necklace I have on today by Arthur King has an amber piece with a petrified mosquito in it, and I just love that. The Gilbert Albert pieces that are in the catalogue with the fossilized ammonites, I think those are very interesting. I have some jewelry also by Gilbert Albert with beetles in them. I find all this natural material something special, and the natural crystals and uncut stones. Sharon: Did it give birth to what we see today? Kimberly: I really believe so. I haven't talked to any young designers as to what their inspiration is, but one would think. All you have to do is look at the catalogue and page through it to see how this jewelry could have influenced young designers. Jacobs, for example, is a huge fan of Andrew Grima. So was the fashion world, I think.  Sharon: You could take any piece from the catalogue and put it in Nieman Marcus today. It wouldn't look like a dated piece or anything; it would look like a fashion piece or a current piece. It's a beautiful book, and I encourage anybody who has an interest in this to get their hands on it and take a look. Did you think about the book on its own aside from the exhibit, or did the book only come about because you knew you were doing an exhibit? Kimberly: The book came about because of the exhibit, but I did feel very strongly that the two should go hand in hand. I think, especially for jewelry, that's a wonderful thing to happen, because you're able to see the pieces in the flesh rather than just see them in a book. I do like having the record of the book. One thing we did, and this is where the dealer and the collector part of me comes in, is that the book is mainly buyers of these different artist jewelers who were fascinated themselves. Many of them sold to the jet set; it was that time and period and craziness. There are buyers of the artist jewelers, and in the back we have makers' marks of all the jewelers that are in the exhibition. That comes in handy, especially for some of the more cryptic makers' marks that people can't figure out so well.  Sharon: It's fabulous to see that. It's a great resource. I know you have a background—is it in art history? Kimberly: Design primarily, but my husband I have had a gallery for as long as I can remember, and we've been together about 40 years. My husband sells, but mainly he's like I am. We're both hopeless collectors. It's mostly minimal and conceptual art. Sharon: Wow! Do you enjoy the research part because it's researching jewelry and art, or do you like research in general? Kimberly: I love research. I love research in general I suppose, but anything I'm passionate about. The only other thing I like to do is eat. Sharon: I can join you in that. Are there certain characteristics that a new collector should look at in terms of signatures or one-of-a-kind or limited edition? You're driven by what you like and you're suggesting that new collector would be driven by what they like. O.K., but are there certain things—everything you're pointing out has what I call tentacles. You called them something else before. What are the characteristics here? Kimberly: Again for me, I think it goes back to the naturalism of all the material. I have to say I've always described my jewelry as painterly, meaning it's textural, it has some kind of artistic quality to it. If I had to give advice to a budding collector, like I said, it would be try to see as much as you can, read as much as you can, and if you don't read, that's O.K.; look at the pictures. Look at jewelry catalogues and jewelry books and jewelry publications. Everybody will hit on something. It's like you said earlier; you've got how many black shirts in your closet? I'm with you on that account, too. I think we will walk down our path of what our own taste is. It's just discovering what the level of taste is and then going with it.  Sharon: Years ago, I was trying to decide what I should keep, what I should look at passing on or selling, and someone who sold art said to me, “Buy what you love.” I talked to other collectors in other areas where I tend to be—if it's in TJ Maxx, I may not buy it, just to be truthful about it. Are you a believer in the buy what you love, or are you looking for certain things? Kimberly: Oh, absolutely. You have to buy what you love. The things is, you have to learn what you love, and you only do that by exposing yourself to what's out there, or else you don't know what you love. It's just like a kid; they won't eat certain things because they  haven't tried them. Then they try them and they like them. You need to know what's out there and what's available so you can form an educated opinion. After all, like Christopher Dresser said, “Knowledge is power.” I think that's an important statement. Sharon: I want to say it's amazing—that's not really the word I want, but the fact that you've collected this for so many decades now, several decades, and it's still what you love. I don't know what I want to say, but there are things I've liked; there are trends, but the fact that you have been so passionate about it for so long— Kimberly: It's interesting, because I am very passionate about it still and I don't see that waning at all, but that said, I love ancient jewelry. I love antique jewelry. I love jewelry by artists. There are many, many different kinds of jewelry that I absolutely adore as well. I just don't go down that path as much because I find that I know more about this now. It's like a friend of mine said, “Stick to your knitting.” I try to do that. However, with the ancient jewelry and ethnic jewelry, it informs the stuff I collect anyway. It's not uncommon for me to wear a pre-Columbian pendant. What else do I have that I like to wear a lot? I have a lot of jewelry by a woman named Patti Cadby Birch who took ancient materials and reconfigured them in the 70s, so the materials are ancient, but they're a little more wearable. I love that as well. Sharon: Have you thought about what your next exhibition is going to be? Kimberly: I'm going to say, because I don't know if it'll be an exhibition or not, but I'm really fond of the work by Arthur King. I think he's an interesting American jeweler and an important American jeweler from the 60s. There are lots of people out there that have his jewelry. In my dream world, if I have time to do it, I'd like to do an exhibition of Arthur King, not just with the jewelry I have. Anybody listening, if you're an Arthur King collector, I would really like to do a museum exhibition of his work. I would do that myself. Sharon: That would be fabulous. I don't know his work. When you say there are a lot of people out there who collect him, I'm sure there are. I don't see a lot of it. When I go to shows, I don't see it or I don't know it. It's not being called out, like when they have a little tag saying, “This is a Cartier.” There are lots of jewelers besides Cartier, but I'm just saying. That would be fabulous. I didn't even know he was American. Kimberly: Oh, yeah. He had a couple of stores in Manhattan and, like I said, in Florida as well, so lot of his jewelry ended up in those pockets of the world. A lot of people knew him, and there are some great stories about him. I have been in touch with people that were close to him, and right now I'm trying to get their stories just in case this comes to fruition. Sharon: That would be a fabulous next step. I'm sure you're just going to sit down and be, like my husband would say, “eating bonbons” after this. Anyway, Kimberly, thank you so much for being here. The exhibit sounds wonderful. Who better to put it together and drive it than you, with your passion and knowledge? We are all looking forward to it. It starts October 21 at the Cincinnati Art Museum, which I understand is a fabulous museum. I look forward to getting there, and I hope everybody listening to this can make it also. Thank you so much. Kimberly: Thank you so much, Sharon. I hope to see you in Cincinnati.  We will have images posted on the website. You can find us wherever you download your podcasts, and please rate us. Please join us next time, when our guest will be another jewelry industry professional who will share their experience and expertise. Thank you so much for listening. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

What you'll learn in this episode: Why jewelry artists from the 60s and 70s, such as Andrew Grima and Arthur King, are gaining more appreciation today The difference between artist jewelers and jewelry by artists What a jewelry lover should do to refine their taste and start their collection What defines a passionate collector What to expect from the Kimberly's upcoming exhibition “Simply Brilliant: Artist-Jewelers of the 1960s and 1970s” About Kimberly Klosterman A graduate of Stephens College with a BFA in design, Kimberly Klosterman was always interested in art, antiques and design. After graduation she studied Decorative Arts at Sotheby's London, where she was exposed to the world of antique jewelry. Upon return to Cincinnati, she and her Husband, Michael Lowe, opened their first gallery selling art and antiques. At this time, she also began her search for fine jewelry. To make ends meet for the new business, Klosterman went to work in the family company, Klosterman Baking Company, in 1982 where she currently moonlights as C.E.O. Her jewelry business, established after another Sotheby's course, Understanding Jewelry, was opened in 1996. Her love of 1960s and 70s jewelry developed through the tutelage of Amanda Triossi, whose own collection thrilled Klosterman. After living in Amsterdam and London, she returned to Cincinnati where she continues to collect fine jewelry.  Klosterman has given gallery talks at the Cincinnati Art Museum, the Taft Museum, the American Society of Jewelry Historians, and the American Society of Jewelry Appraisers, NYC Jewelry Week, Christies Auction, Bonhams Auction, etc.   The current exhibition “Simply Brilliant: Artist-Jewelers of the 1960s and 1970s,” organized by Cynthia Amnéus, Chief Curator and Curator of Fashion at the Cincinnati Art Museum, is a result of Klosterman's passion for collecting. Her goal, to help preserve the legacy of these bold men and women who were jewelers to the jet-set. The exhibition, which opened at DIVA in Antwerp, Belgum and traveled to the Schmuckmuseum in Pforzhiem, Germany, will be on view in Cincinnati Oct 22- Feb 6. A catalog complete with biographies and makers' marks accompanies the exhibition. Additional Resources: Website Facebook Instagram Pintrest Photos: This is the cover of the book, which is also the catalog and a listing of where the exhibit has been. Roger Lucas for Cartier astronaut ring Romolo Grassi Gold and emerald pendant. Gilbert Albert ammonite and pearl Bracelet Brooch Cedars Devecchi carved coral and gold brooch. Arthur king Brooch Collection of Andy Warhol and Kim Klosterman Andrew Grima amethyst ring. Andrew Grima agate and tourmaline necklace. Transcript: What makes a passionate collector? For Kimberly Klosterman, it's someone who can't get enough of the objects they love, no matter what they are. She herself became a passionate collector of 1960s and 70s jewelry long before it became popular. Her collection is now being featured in a traveling exhibition, “Simply Brilliant: Artist-Jewelers of the 1960s and 1970s.” She joined the Jewelry Journey Podcast to talk about the qualities that draw her to 60s and 70s jewelry; why the unique jewelry of this period has come back in style; and what aspiring collectors should do to create a thoughtful collection. Read the episode transcript here.  Sharon: Today, my guest is Kimberly Klosterman of Kimberly Klosterman Jewelry. While she's dealt in jewelry across a number of periods, she's recognized for her collection of designer jewels from the 60s and 70s. Her collection is currently being featured in the museum exhibit “Simply Brilliant,” scheduled to open at the Cincinnati Art Museum on October 21. The show has already been at DIVA, which is the new diamond museum in Antwerp, as well as at Pforzheim in Germany. We'll hear all about Kimberly's jewelry journey today as well as about the museum exhibit. Kimberly, welcome to the program. Kimberly: Thank you. I'm so happy to be here, Sharon. Sharon: Tell us about your jewelry journey. I was looking at this beautiful catalogue, “Simply Brilliant.” It's a standalone book, but it's a catalogue of the show. I'm reading the review that Ruth Peltason, I think, did with you. You've really had such a journey if you'd tell us about that. Kimberly: I've been interested in jewelry for a long time and started collecting Art Deco things and different kinds of jewelry earlier on. I decided if I'm going to do this, I'd better learn a little more about what I'm getting myself into. So in 1996, I went to London and found out there was a course called “Understanding Jewelry” at Sotheby's. I thought, “This might be a great thing for me to do. I've been a Sotheby's student before, and I learned a lot the first time around.” This was a course that lasted five or six weeks and Amanda Triosi was teaching it. So, my husband and I went to London and I took the course. It was great. It was the history of jewelry. It was a lot of fun. I do have an art background, so it was easy to pick up on the jewelry she was talking about. We had great speakers, but one thing that stood out for me was that I was exposed to the artists' jewelry of the 1960s and 1970s, and that happened in two ways.  One of our projects for extra points was to go see a show at Hancocks in London, and that was an Andrew Grima retrospective. I went to the show, and I was completely bowled over. I was almost shaking when I saw the jewelry there. I walked in, looked at it, and the man behind the counter was very tall and dapper, a really elegant man, and he looked at me and saw my enthusiasm and said, “Would you like to meet the artist?” I said, “Oh yes, that would be fantastic,” and he extended his hand. It was Andrew Grima. That was my first exposure to that kind of jewelry. Up until then, if you think about what was happening the mid-90s, everybody was into white gold and small jewelry and little, tiny things. Here were pieces that were big and bold and gold, and all kinds of materials were used instead of precious and semiprecious stones. It was a real eye-opener. The other thing is Amanda, who has become a very close friend, at the time when I was her student, she took some of us back to her little apartment in London and said, “Would you like to see my jewels?” I said, “Oh sure, that would be great.” So, she reached behind the radiator and pulled out these hot jewels, and they were incredible. She had a necklace by Gilbert Albert and Andrew Grima pieces and a host of things I had never laid my eyes on. The other few students that were with us didn't get it at all. I immediately responded to it, and I knew that was a path I wanted to carve out for myself.  At the time, I was taking a bit of a break from my family business, which is Klosterman Baking Company. My husband and I were in Europe, and I didn't know what I was going to do. I woke up one morning and said, “I know; I'm going to sell jewelry.” I took the previous stuff I had collected, which actually turned out to be a lot better than I thought, and started selling that, but with an eye to look for these other jewels. I think one thing that was so amazing to me is how difficult it was to source that material from the 60s and 70s. I didn't realize until some years later that the reason was because it simply wasn't out of the jewelry boxes yet. It hadn't come into the marketplace, and if it did, it was probably scrapped pretty quickly, as they were heavy pieces of gold. So I went on this quest, but it took quite a while to build a collection. If you are thinking about this jewelry in today's marketplace, say for the past four or five years, it's everywhere, but it was very difficult to source in the beginning. I made a little booklet on my iMac that I used to take to shows on the jewelry I was collecting. This was before we had cellphones. I would take it around with me to shows and show various dealers, “If you get anything like this, call me. Here's my card.” That's how I started collecting. Sharon: Did you get a response from dealers? Did they say, “Oh, I've had that in my drawer for ages”? Kimberly: I did have a funny thing happen one time in Miami. I was wearing a piece of jewelry by Arthur King, and I really like King's work. He's an American jeweler that started working in the late 40s. He started out as a studio jeweler making his own jewelry in Greenwich Village, right on the same street as Sam Kramer and— Sharon: Art Smith? Kimberly: Art Smith, yes. He was right in that group. I think he went to Florida right after that and eventually started working in gold. He started hiring other bench jewelers to help him as well. He had a place in Cuba. He had a couple of different stores in Florida, and he was also showing at Fortnum & Mason in London. He's a very interesting jeweler to me, but anyway, back to the Miami Beach, Florida Antique Show. I was wearing an Arthur King piece, and one of the dealers looked at me and said, “Do you like that stuff?” and I said, “Yeah, I do.” She said, “I have these things in my safe.” It ended up being a number of pieces that came directly from Louise King, Arthur's wife, and she had them on consignment. I bought those pieces and started my friendship with that dealer, who down the road would show me things like that when she got them.  Sharon: I'm sure people were surprised because that stuff was so out of fashion when you started collecting it. Kimberly: It really was. The other dealer stories are a total crackup. I say my best pieces came out of people's big and ugly boxes. You would go to the show, and they'd have this box, big and ugly.  Sharon: Today it's not white gold, but it's still tiny, little pieces. I call it Brentwood jewelry.  That's an affluent area near here. I'm knocking somebody's jewelry, not any particular designer, but I don't understand; it doesn't show up. Why are you wearing it? That's all. Kimberly: I've always said it's funny about jewelry. I learned a long time ago that people that wear big jewelry don't necessarily have to be big people. A lot of times different jewelers would say, “Oh well, you need a big woman for that,” and I said, “No, you need a big personality.” Some of the people I know that wear the biggest jewelry happen be to the tiniest people. Sharon: That's true with art jewelry being made out of plastic or wood. It's big, but it may be a little more out there, avant garde. I remember at a gallery, there was a small, very elegant woman telling me how she would have to convince her clients they could wear this stuff. They didn't have to be big women, like you're saying. You mentioned Graham Hughes. Tell us who this is and how he influenced your collecting or your path. Kimberly: Graham Hughes was in the late 50s at Goldsmiths' Hall. His father had been at Goldsmiths' Hall and Graham followed in his father's footsteps. This is in London. Graham was initially involved with the silver department there, but he had a real love of jewelry and decided this would be a good avenue for Goldsmiths' Hall to go down to start a collection of jewelry. He was very passionate about it and has written a number of books on the history of jewelry. I always liked his take on things. We just seemed to have the same taste. Even in his historic collection of jewels that he chose to picture in his books, they were always the best; they're just great. He was a bit of a character, from what I understand.  I never did get to meet him, but he got together with some people at the V&A. They started talking in the late 50s about putting an exhibition of jewelry together, and they didn't want to do just any jewelry. They thought jewelry was boring, staid; “What can we do to shake it up?” This little group initially said, “I know. We'll get artists to make jewelry. We'll commission artists to make jewelry and we'll have this exhibition.” They talked about that, and the more they talked about it—it was actually Graham, I believe, that said, “No, we can't do that, because artists don't always understand how jewelry hangs on the body or how it attaches to clothing because they're artists; they're not jewelers.” He said, “We need to reach out to people that are jewelers making amazing jewelry already, people making one-of-a-kind pieces of jewelry that are thinking outside the box.”  There were a couple of different reasons; I don't know exactly what they were. Health was one issue. One of the people had a health issue, and something else happened at the V&A where they were going to cancel the show. Instead, Graham proposed that they have the show at Goldsmiths' Hall, and everything came together. They started reaching out to people all over the world for this proposed show. I can't remember how many countries; maybe 80 countries, something like that. Just under a thousand pieces, 900 and some odd pieces were exhibited in the show when it happened in 1961. It was also a historic show because it showed works by René Lalique, Chaumet, some other big houses. It was kind of a survey in that area, but the idea was modern jewelry, 1890-1961. Sharon: I want to make sure everybody knows that the V&A is the Victoria and Albert Museum. Kimberly: Anyway, this put a lot of people in the limelight. People like Arthur King exhibited from America in that show; Andrew Grima exhibited; just a whole host of people. Those people helped inform my collection. The catalogue he wrote that accompanied the exhibition as well as the book that followed it became the Bible for my collection, my wish book. Sharon: I want to ask you something else, a small detail. Amanda Triosi's class, was that every day for five or six weeks or once or twice a week? Because if it was every day, wow!  Kimberly: It was five days, and it was great. We had the best speakers and great field trips. It was really wonderful. Sharon: Wow! I'm ready. Sign me up. That sounds wonderful. I'm curious if today you go to some social event and wear your jewelry, do people understand it more than they did 10, 15 years ago? Kimberly: I think so, absolutely! If you look in today's marketplace, heck, go to TJ Maxx and look in the case. So much jewelry is influenced by what was happening in the 60s and 70s, whether these contemporary jewelers know it or not. It has definitely come back around. Uncut stones, rough diamonds, textured gold, bigger, bolder items; all of these things have come back into the marketplace, and yellow gold again as opposed to white gold. Sharon: Was there a time, maybe 20, 25 years ago, when friends, people at social events, would say, “What is that?” Was there no understanding or appreciation? Kimberly: I think overall people do appreciate it more than they did. To my face they didn't tell me they didn't get it, but it's been interesting working with different people on the exhibition that maybe weren't exposed to this kind of jewelry before, even possibly the curator at the art museum, Cynthia Amnéus, who wrote the book, or Ruth Peltason, who's also writing a book on 1960s and 1970s jewelry and did the interview with me in our book. I have educated them to the point where they really like the jewelry now.  Sharon: It definitely grows on you. Kimberly: It does, and I think that's true with anything. People tend to like what they know, not know what they like. Sharon: That's interesting. That could lead into a whole different discussion. Did somebody have to teach us to love Art Deco jewelry, or is that just something that is beautiful? Kimberly: You know what? I think it's just beautiful. I remember declaring, after I graduated from my “Understanding Jewelry” course at Sotheby's, that I knew what I was going to sell: Cartier Art Deco, because it's the best. Well yeah, everybody else thought so, too. So, I carved out a niche for myself that was remotely different. Sharon: It must have been easier to source at least, Cartier Art Deco. A lot pricier I would think, but easier to source. Kimberly: Easier to source, but out of reach for me at the time. Sharon: In some of the literature I was reading about you, it says you sell to the passionate collector. What is the passionate collector to you? Kimberly: It's anyone that can't enough of anything. I have one friend I sell to and they're—you know what? I think you should answer that question. You're the collector. Sharon: I was thinking about that. Is that somebody like me who occasionally will buy—let's say it's out of my budget; it's out of my reach, but it's so beautiful I have to have it. There are a lot of things I don't think about that way. I don't need sports cars. I don't need a boat. I don't need a horse. Kimberly: I think it's when you can't stop. I know from my own self I'm a passionate collector. I keep thinking, “I don't need that, but that's fantastic.” You try to say, “Hey, I've got all this. I don't need another example of this, but I need an example of this.” Sharon: I's like as my mother used to say to me, “You have a black blouse.” Yes, I have a black blouse, but does it have short sleeves? Does it have a bow? Anyway, the other thing you talked about is jewelry by artists versus artists' jewelry. Can you tell us a little bit more? Kimberly: The difference between an artist jeweler and jewelry by an artist is this: an artist like Calder, Goya, Dalí, etc. makes other art. They're more passionate—I don't know about passionate, but— Sharon: They're artists in that way. Kimberly: They're artists in a bigger realm. They're making paintings and sculptures and different things, and jewelry is just a small portion of what their oeuvre is. Whereas an artist jeweler is a jeweler by trade or in the jewelry industry by trade, making one-of-a-kind pieces of jewelry that are in that marketplace. It's almost like a marketplace situation. You've got jewelers and you have artists, but certain jewelers that we call artist jewelers are making one-of-a-kind pieces, usually, or limited pieces for the jewelry market. Does that make sense? Sharon: Yes, it is hard to define. I've talked to a lot of different people about what a passionate collector is and what collecting is. Someday somebody will come up with some definition that's definite. What you're saying makes sense. I understand what you're saying.

Inspired by Cycladic fertility icons, early Byzantine paintings, and folk art, Robin Grebe's figures serve as a canvas or setting for her narratives. Through these elegant and often autobiographical cast glass busts, she explores the universal quest to understand the directions our lives. Imagery from the natural world represents peaceful beauty, but also speaks to uncharted territory and the unknown. Using birds and plants as metaphors for mythic flight, spirituality, the intangible, and nature's uncontrollable forces, Grebe transforms her personal search into a shared exploration. She says: “I have always worked figuratively; in some ways my sculptures are autobiographical. They help me process my thoughts, ideas and changes in life. The sculptures usually incorporate images from the natural world. These images serve as a metaphor to both our fragility as well as our resilience in our personal/emotional/spiritual world and in the larger world itself.” Born in Newark, New Jersey, in 1957, Grebe earned her MFA in Ceramics/Glass from Tyler School of Art, Elkins Park, Pennsylvania and BFA in Ceramics from the Massachusetts College of Art in Boston, Massachusetts. She has taught glass and ceramics at the Massachusetts College of Art and Pilchuck Glass School, among others. Her exhibitions and collections include the Cleveland Museum of Art, the Hokkaido Museum of Modern Art in Japan, the Morris Museum in Morristown, New Jersey, the Taft Museum in Cincinnati, Ohio, the Lowe Museum, Miami, Florida, and the Tucson Museum of Art in Tucson, Arizona, to name a few. One of the things Grebe loves most about making her sculptures is working wet clay to make her sculptural form. She builds a plaster mold around that clay form, and once it has hardened, peels the clay out of the mold and fills the cavity with chunks of colored glass. It then gets fired in a kiln to melt the glass into the cavity. Once cooled the mold is chipped off the glass sculpture. The glass is then ground, sanded and polished into its final form.  Using cast glass, ceramic glazes, and transparent enamels, Grebe creates her monolithic and allegorical human forms, which seem simultaneously fragile and strong. To her, they illustrate the paradoxes of human life. Recent exhibitions of this work include a 2019 solo show at Habatat Gallery, West Palm Beach, Florida, and the group show, In Her Voice: Influential Women in Glass, held at the Sandwich Art Museum, Sandwich, Massachusetts, in 2021.   

Hernease here! My many apologies for the episode delay this week! I've been getting ready for an upcoming exhibition, and... well, we weren't able to record our episode this week. But we'll be back soon! In the meantime, if you missed it, I highly recommend y'all check out Asha Daniels' virtual fashion exhibition at the Taft Museum of Art. It's free to view! Links below :-) Hernease's Upcoming Solo Show: Established Gallery | May 8th - 30th www.establishedgallery.com/one-day-i-ll-share Asha Ama Bias-Daniels's Virtual Fashion Exhibition: https://www.facebook.com/watch/live/?v=1206455669809694&ref=watch_permalink

S2 Episode 12: Multi-Award Winning Filmmaker/Professor/Activist Ya'ke Smith has a dynamic and powerful discussion with OneMicNite Podcast with Marcos Luis. Download this one, because you will want to listen to it more than once! You will definitely be a fan of his work! Audio Podcast: Music~ "Halftime (OneMicNite Podcast Theme Song)" & "Jazzy Vibes" by Professor Sora Music Guest: Ya'ke Smith IG/Twitter @Yake80    Fb @Yakefilmmaker Website: ExodusFilmWorks.com *** Ya'ke Bio: His films have received world-wide acclaim, screening and winning awards at over 100 film festivals. The Director’s Guild of America, the Student Academy Awards, HBO, Showtime, the City of Buffalo, NY, which proclaimed February 23, 2013 as Ya’Ke Smith Day and the city of Cincinnati, OH which proclaimed October 6, 2019 as Ya’Ke Smith Day, have honored him. Ya’Ke was selected as the Taft Museum’s 2019 Duncanson Artist-in-Residence and was recognized in Variety Magazine’s 2020 list of the top Film Educators from Across the Globe. His short, Katrina’s Son, screened at over 40-film festivals and won 14 awards. The film was also eligible for the 2012 Academy Award in short filmmaking. His debut feature, WOLF, which NPR called “an impressive piece by a young director,” premiered at the SXSW Film Festival and has gone on to screen and win awards at festivals across North America. The film is now available for download via several Video-on-Demand outlets. His short film, dawn., made its television premiere on HBO in February of 2015, and screened on the network for two years. The film was also streamed as part of Issa Rae’s Short Film Sunday series on her YouTube channel. His award-winning web-series, The Beginning and Ending of Everything, is currently streaming on the website a Space for Creators. His short Brother won Best Short Film at the Dallas Videofest’s Alternative Fiction Festival and is currently making its rounds on the film festival circuit. His latest effort Dear Bruh, an elegy and eulogy for black men and women lost to racially motivated violence, was called “urgent and arresting” by The Criterion Collection and was named by Vogue Magazine as one of the “14 films to watch now.” "One of the top film educators from around the globe" Variety Magazine "For nearly two decades, the San Antonio native (Ya’Ke) has been making films that grapple with race and social change" ~The Texas Monthly "25 screenwriters to watch" ~Moviemaker magazine Show Info:  Follow/Subscribe on  IG/Fb/Twitter/Tumblr @OneMicNite  Website:  www.OneMicNite.com Audio Podcast Available wherever you download. Video @Yoube @OneMicNite Host: Follow Award winning Actor/Producer on All Social Media @MarcosLuis & find out more www.MarcosLuis.com **OneMicNite has been a provider of platforms for Indie Artists since 2006. Support this effort by sharing Episodes, joining the Artist Community on Facebook, and/ or Venmo/Cash App @Marcosluis1 and Pay Pal: MarcosStarActor@gmail.com  Please Leave Comments and rate Us. Any inquiries for the Show: OneMicNite@gmail.com

Elise Solomon, the Taft's Director of Learning and Engagement, joins us to talk about the museum's history, it's mission today, how one gets into the museum business, and more. How did it become an art museum? What kind of works does it feature? Is it haunted? We find out! Get social with us: Facebook: Cincy Shirts Official Facebook Page Twitter: Cincy Shirts Official Twitter Page Instagram: @CincyShirts Snapchat: @CincyShirts The Cincy Shirts Podcast theme is “Cincinnati” by Big Nothing who are actually from Philadelphia. 

What is it like to work with fibers in Senegal and the artist Kehinde Wiley at his residency Black Rock? Artist Heather Jones whose work questions and pushes traditional conceptions of both quilt making and painting talks about her experience being part of Kehinde Wiley’s inaugural class at Black Rock Senegal.  Heather’s work explores the formal possibilities of color and design. She addresses the historical and socio-political relationship between women and textiles and explores the relationship between gender, place, time, and culture in her work.  She is represented by Contemporary Art Matters, Columbus, Ohio; the George Gallery, Charleston, South Carolina; Imlay Gallery, Montclair, New Jersey; Moremen Gallery, Louisville, Kentucky; and Slate Contemporary, Oakland, California. She was selected as an artist-in-residence for Kehinde Wiley’s inaugural class at Black Rock Senegal.  Her work has been exhibited widely at national and international venues including the Taft Museum of Art, Cincinnati, OH (solo); Art on Paper, New York, NY; Aqua Art Miami, Miami, FL; Marta Hewett Gallery, Cincinnati, OH; Iowa Quilt Museum, Winterset, IA; New England Quilt Museum, Lowell, MA; Lyons Wier Gallery, New York, NY; the University of California, Berkley, CA; Boecker Contemporary, Heidelberg, Germany; drj- dr. julius | ap, Berlin, Germany; Five Walls, Melbourne, Australia; and M17 Contemporary Art Center, Kiev, Ukraine. Jones’ first book, Quilt Local: Finding Inspiration in the Everyday was released in October 2015 by STC Craft, an imprint of Abrams, New York.    LINKS: http://www.heatherjonesstudio.com/ https://blackrocksenegal.org/ https://contemporaryartmatters.com/ I Like Your Work Links: Live Exhibition: https://www.ilikeyourworkpodcast.com/hedges-houses-mothers-children I Like Your Work Podcast Studio Planner Instagram Submit Work Observations on Applying to Juried Shows

Benjamin Macklowe joined Macklowe Gallery in 1994 and became its president in 2012. Under Ben’s leadership, Macklowe Gallery has become the world’s most respected dealer of antique and estate jewelry, French Art Nouveau decorative arts and the entire oeuvre of Louis Comfort Tiffany. Ben is a sought-after expert in his field and has served as a lecturer for museum groups and scholarly organizations throughout the United States. Ben has appeared on television to discuss Tiffany lamps with Martha Stewart, lectured on the art glass of Emile Gallé at Taft Museum of Art and has taught about Art Nouveau jewelry at Christie’s Auction House on multiple occasions. He helped expand the collections of The Metropolitan Museum of Art, Dallas Museum of Art and Virginia Museum of Fine Arts, selling important decorative works of art to each. In recent years, Ben has sought to shed light on areas of collecting that have never been fully explored, spearheading the publication of two books: Dynamic Beauty: Sculpture of Art Nouveau Paris and Nature Transformed: Art Nouveau Horn Jewelry. What you’ll learn in this episode: How the Macklowe family recognized the potential in antique and vintage pieces and came to establish Macklowe Gallery. What types of collectors exist and how Macklowe Gallery advises on purchasing antique and estate jewelry. The importance of unsigned jewelry and the role collectors play in bringing the pieces justice. Why Macklowe Gallery chose to represent designer Neha Dani and the inspiration behind her work. How Macklowe Gallery is positioning antique and estate jewelry to potential millennial buyers. Additional resources: Website Facebook Instagram Pinterest YouTube Twitter

Join Tim Ray as he interviews Peter Teremi. Peter Teremi is a photographer, author, and blogger, based in Cincinnati Ohio. He has two published books, and photographic works displayed at the Taft Museum of Art in Cincinnati. Peter enjoys music, travel, spending time with family, and daily walks with a Miniature Schnauzer named Murphy. The Murphy-Cam Project is a photographic and spiritual journey of man and dog along the river in Cincinnati and Northern Kentucky. “Through this journey we found a call to help the homeless neighbors we met along our trek.” The latest book entitled “Year of the Flood”, captures the haunting beauty of the 2018 flood, while celebrating the resiliency of a historic river town through the many festivals along mighty Ohio. It makes a wonderful coffee table book, and a great Christmas gift. The proceeds from book sales go to Our Daily Bread, one of many organizations in Cincinnati making a difference in this community. Peterteremi.com

13. Berenice Abbott, "Blossom Restaurant", October 24, 1935 by Taft Museum of Art

14. Berenice Abbott, "Traveling Tin Shop", May 22, 1936 by Taft Museum of Art

1. Introduction by Taft Museum of Art

2. Berenice Abbott, "Eugène Atget", 1927 by Taft Museum of Art

3. Man Ray, "Berenice Abbott", 1925 by Taft Museum of Art

4. Eugène Atget, "Panthéon Seen From The Rue Valette (Coin De La Rue Valette Et Panthéon)", 1923 by Taft Museum of Art

5. Eugène Atget, "St. Cloud Park (Parc De St. Cloud)", 1919–21 by Taft Museum of Art

6. Eugène Atget, "Courtyard, St. Gervais And Protais", 1899–1900 by Taft Museum of Art

7. Eugène Atget, "Ragpicker’s Hut, Montreuil Portal (Porte De Montreuil)", About 1910 by Taft Museum of Art

8. Eugène Atget, Printed By Berenice Abbott, "Atget’s Studio", 1910–11, Printed Later by Taft Museum of Art

9. Eugène Atget, Printed By Berenice Abbott, "Woman In Doorway, Versailles", 1921 by Taft Museum of Art

10. Eugène Atget, Printed By Berenice Abbott, "Eclipse", 1911, Printed 1956 by Taft Museum of Art

11. Eugène Atget, Printed By Berenice Abbott, "Boulevard De Strasbourg, Corsets", 1912 by Taft Museum of Art

12. Berenice Abbott, "Snuff Shop", January 26, 1938 by Taft Museum of Art

18. Berenice Abbott, "20 Photographs By Eugène Atget", New York, 1956 by Taft Museum of Art

17. Berenice Abbott, "Automat", February 10, 1936 by Taft Museum of Art

15. Berenice Abbott, "Fifth Avenue, Nos. 4, 6, 8", March 20, 1936 by Taft Museum of Art

16. Berenice Abbott, "Flatiron Building", May 18, 1938 by Taft Museum of Art

19. Conclusion by Taft Museum of Art

“Bijoux Parisiens: French Jewelry from the Petit Palais, Paris” will be on view at the Taft Museum of Art in Cincinnati, Ohio from February 9 through May 14, 2017.

The exhibition “Bijoux Parisiens” has been produced by the Petit Palais, City of Paris Fine Arts Museum, Paris Musées, in cooperation with the Joslyn Art Museum in Omaha, Nebraska, with additional loans for this showing arranged by the Taft Museum of Art. This audio tour has been made possible through the generosity of the Docents of the Taft Museum of Art.